False teeth may have had their cameos in two of the best films at the 43rd Telluride Film Festival, but there were very few false notes struck during the four-day, cinema-loving summit. In Barry Jenkins’ breakout beauty, “Moonlight,” the central figure, whom we’ve watched since he was a bullied kid living in a housing project in Miami, wears gold “fronts.” In German writer-director Maren Ade’s “Toni Erdmann,” the father of a pent-up businesswomen dons a goofy set of choppers whenever he switches into the absurd personage of the title. “Toni Erdmann” and “Moonlight” shone brightly amid a number of excellent selections at this year’s persistently engaging gathering.

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